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Annales médico psychologiques 19건

  1. [해외논문]   David Bowie is... The man who fell to earth  

    Schauder, S.
    Annales médico psychologiques v.175 no.1 ,pp. 47 - 49 , 2017 , 0003-4487 ,

    초록

    As a contribution to the symposium on Cinema and Psychiatry, the author proposes to question the paradigm of the humanoid - here, an extra-terrestrial being. How strangeness, associated with difference and furthermore with psychopathology, especially in the psychoses, can be grasped through their representation in cinema? Living through moments of depersonalization and derealisation, Thomas Jerome Newton alias David Bowie in the title role of Nicolas Roeg's The Man Who Fell to Earth (1974) is torn by dilemma - his irreductible strangeness is due to two irreconcilable and incompatible worlds - his planet of origin, Anthea and the Earth he fell to.

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  2. [해외논문]   Rainer Werner Fassbinder (1945-1982): A clinical and psychoanalytical camera  

    Pierlot, P.
    Annales médico psychologiques v.175 no.1 ,pp. 50 - 56 , 2017 , 0003-4487 ,

    초록

    Fassbinder wanted to be for the picture, what Shakespeare was for the literature, Marx for the politic, and Freud for the psychoanalysis. Using the examples of 15 films among the 45 shooting between 1966 and 1982, a psychiatrist should pay attention for four subjects: the childhood and the Oedipus Complex (I only Want You to Love Me), the description with a clinical precision of a sado-masochism case (Petra von Kant, Martha), depression, suicide and substance addiction (Fear of Fear), and depersonalization and psychotic split personality (Spaltung) in mirrors (Despair). Fassbinder, reputed to make political and sociological films, appears to be a fine clinical observer by using, to describe the traumas, the fantasies and their different interpretations, the sequences of the editing with a brilliant art, a lightning camera.

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  3. [해외논문]   Painters at work, with regard to cinema  

    Paradas, C.
    Annales médico psychologiques v.175 no.1 ,pp. 57 - 61 , 2017 , 0003-4487 ,

    초록

    Dedicating this work to Jean-Gerald Veyrat, the author explores the subject of painters seen and reviewed by the cinema, around a slideshow exhibited in colloquium. The opportunity to question the relationship of words, things, emotions and images. Through the staged staging of the creative act, the impossible to show the fulgurances and to represent the irrepresentable. From the difficulty of making the invisible real to the throes of artisans of art to give to see the visible, whirling glances of glance. The symptomatic omnipresence of the cliches of the artist and the pitfalls of psychobiography refers in this cinema to the myths of the eye of desire and the paradoxes of creativity. An eye for an eye. Repetitions and metamorphoses, since the night of the times and the first mirrors of the maternal pupil. Transpositions and revelations of painters at work, from subjectivity to subjectivity and transfers of memories into transfers of existences. As in therapeutic mediations, otherwise, films of painting aim at the gaze on the gaze without taking our eyes full. Sometimes for the best, even if it is for fake.

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  4. [해외논문]   Impasses of psychiatry through films: Mommy, One Flew Over the Cuckoo's Nest, Shutter Island  

    Estingoy, P.
    Annales médico psychologiques v.175 no.1 ,pp. 62 - 65 , 2017 , 0003-4487 ,

    초록

    The treatment of the mental illness in the psychiatric institution raises the question of the human condition within the social body. Filmakers use shortcuts or caricatures, they convey myths and prejudices, but they can also expose a part of realities... Three movies talk about impasses of psychiatry and related issues: Mommy, by Xavier Dolan (Quebec 2014); One Flew Over the Cuckoo's Nest, by Milos Forman (USA 1975); Shutter Island, by Martin Scorsese (USA 2010). Beyond the storyline, these three films recall the limits of psychiatry: first in relation to its role of societal control, then regarding some of these therapies, coercive or invasive practices, such as deprivation of liberty or lobotomy. They also force the psychiatrist to look at the problems of normal or pathological when offering psychopathological models on the edge of madness.

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    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  5. [해외논문]   Kon Ichikawa's representations of the Second World War  

    Auby, P. ; Simonnot, A.L.
    Annales médico psychologiques v.175 no.1 ,pp. 66 - 69 , 2017 , 0003-4487 ,

    초록

    ''If psychiatry had not existed, the movies would have had to invent it. And in a sense they did'', wrote Irving Schneider in the foreword to the excellent book by Krin and Glen Gabbard, Psychiatry and the Cinema. For this session of the Societe Medico-Psychologique focusing on Cinema and Psychiatry, opportunistically ''delocalized'' at the misfit theatre called Le Brady, we wanted to present two masterpieces of the Japanese director Kon Ichikawa. These two powerful war stories, The Burmese Harp and Fires on the Plain illustrate the fascinating dialogue between movies and psychiatry, specifically in this case around war trauma and its consequences. ''While Ozu depicted the consequences of war on contemporary 1950 Japan, Ichikawa remained stuck on the last weeks of agony of 1945... Ozu's films begin where those of Ichikawa end'', wrote Serge Kaganski in the Inrocks in 1994, when the Parisian public was able to discover Kon Ichikawa's movies. Of course, we could have chosen to rather ''psycho''-analyze Godzilla, this terrible monster awaken from his deep prehistoric sleep by the Bikini atomic explosions and appearing for the first time on Japanese screens in 1954 as a metaphor of the horror of Hiroshima and Nagasaki, and as a subtle criticism of the US presence in Japan, nine years after the end of the war. We should not forget that King Kong against Godzilla (1962) directed by Inoshiro Honda was part of the Brady unconventional program. Kon Ichikawa was discovered by the majority of the Occidental public in 1960, when he received in Cannes the Jury's Prize for his film Kagi (The strange obsession) together with Antonioni for L'Avventura while the Palme d'Or was awarded to Fellini for La Dolce Vita. Kon Ichikawa, Japanese filmmaker (1915-2008) began his career as a cartoonist. Considered as the tenant of a rather commercial school, Ichikawa directed numerous films, more than fifty, not all always well received by the critics. However, we concur with Max Tessier who in his book Images of the Japanese cinema, states ''to see several of his films, you realize that there is in some of his movies a true Ichikawa's 'eye', mix of black humor and cinematographic entomology'' (indeed Ichikawa depicts some of his main characters as helpless insects), and a very recognizable aesthetic, especially in his films in cinemascope. His first films were satirical comedies, scratching the moral conventions of the Japanese cinema. Then came more drama and deep movies, especially three masterpieces, two great war films, The Burmese Harp in 1956, Fires on the Plain in 1959 and Kagi (The strange obsession) presented and awarded at the Cannes festival in 1960. The characters painted by Ichikawa are not the typical ''heros'' but individuals lost in a quest of an absurd goal, often isolated, like the two soldiers of his two war films, The Burmese Harp and Fires on the Plain. In Les Carabiniers, Jean-Luc Godard reminds us the true nature of war: (in war...) ''there is no victory, there are only flags and men falling''. In these two war films, Ichikawa is far from lecturing us, and far from an alleged exaltation of the values of feudal Japan like what was reproached to his first film by the US censorship. Kon Ichikawa personal aesthetic develops on screen an almost clinical vision of the traumatic destinies of two Japanese soldiers, caught in chaos, lost in the middle a disorganized mass of soldiers. Interestingly, we would suggest to watch these two movies in a row, as they are at the same time so similar and so different, like a kind of construct in mirror, the second prolonging the first in a vertiginous horror. They are quite similar in the sense that they are both depicting the destiny of an anti-hero, a Japanese soldier defeated at the end of the Second World War. But they differ totally aesthetically, to the classical academic format of Buddhist meditation of The Burmese Harp, responds the crude cinemascope format of the Fires on the Plain, using ..

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  6. [해외논문]   From clinic to the ''foul and exciting field of life'': A psychiatric point of view on clinical physiology  

    Micoulaud-Franchi, J.A. ; Dumas, G. ; Quiles, C. ; Vion-Dury, J.
    Annales médico psychologiques v.175 no.1 ,pp. 70 - 85 , 2017 , 0003-4487 ,

    초록

    Claude Bernard, and his master Francois Magendie, by the constitution of physiological science, has brought the establishment of a unifying representation system in the field of medicine. According to these representations, the diseases and the therapeutics would be considered by medical doctors as following the same laws of physiology. Physiology would be the condition of a real scientific medicine. How this positioning may be applied to psychiatry? To answer this question, this article proposes first of all to summarize the principal concepts structuring clinical physiology since Claude Bernard. These concepts are those of the ''milieu interieur'', its stability and its regulation. The principles of this regulation system introduced by Claude Bernard lead us to consider him as the first modern systemic physiologist. Moreover these principles of regulation offer the possibility to understanding in an original way the processes of adaptation and acclimatization of an organism. This article then to analyze how these physiological concepts can be applied to psychiatry, including a discussion on the distinction of normal and pathological (by underlining that the difficulty in defining the disease is not specific to mental disorders), by providing a physiological perspective of the notion of syndrome for linking together in a practical way, the requirements of scientific medicine to that of rigorous clinical medicine.

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  7. [해외논문]   Maximien Parchappe (1800-1866), anatomical pathology of madness' hero and lunatic asylum builder  

    Walusinski, O.
    Annales médico psychologiques v.175 no.1 ,pp. 86 - 93 , 2017 , 0003-4487 ,

    초록

    A student of Jean-Etienne Esquirol, Maximien Parchappe (1800-1866) was an alienist whose career consisted of two successive periods. First as an asylum clinician in Normandy, he tried to find an etiology for ''madness'' through a macroscopic anatomical-pathological study that included nearly eight hundred brains and drew from the nascent field of statistics. Then, once he had been appointed an ''asylum inspector'', he would play an important role in the application of the French Law of 1838. His first goal was the construction of asylums in every French department that met architectural standards specific to the care of the insane. He then worked to promote the humanization of treatment and the well-being of those interned through innovations such as ergotherapy. Extremely dedicated to his work, Parchappe regularly published findings from his various studies throughout his career in a number of works. His main results are summarized here, following a brief biography of this man of conviction, a fine example of a nineteenth-century progressive alienist.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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  8. [해외논문]   Une echelle du risque de violence en UMD : a propos de l'article d'Helene K'ourio et al. publie dans les Annales Medico-Psychologiques 2016;174:608-14  


    Annales médico psychologiques v.175 no.1 ,pp. 94 - 95 , 2017 , 0003-4487 ,

    초록

    A student of Jean-Etienne Esquirol, Maximien Parchappe (1800-1866) was an alienist whose career consisted of two successive periods. First as an asylum clinician in Normandy, he tried to find an etiology for ''madness'' through a macroscopic anatomical-pathological study that included nearly eight hundred brains and drew from the nascent field of statistics. Then, once he had been appointed an ''asylum inspector'', he would play an important role in the application of the French Law of 1838. His first goal was the construction of asylums in every French department that met architectural standards specific to the care of the insane. He then worked to promote the humanization of treatment and the well-being of those interned through innovations such as ergotherapy. Extremely dedicated to his work, Parchappe regularly published findings from his various studies throughout his career in a number of works. His main results are summarized here, following a brief biography of this man of conviction, a fine example of a nineteenth-century progressive alienist.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

    NDSL에서는 해당 원문을 복사서비스하고 있습니다. 아래의 원문복사신청 또는 장바구니담기를 통하여 원문복사서비스 이용이 가능합니다.

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  9. [해외논문]   Analyse de livres  


    Annales médico psychologiques v.175 no.1 ,pp. 96 - 100 , 2017 , 0003-4487 ,

    초록

    A student of Jean-Etienne Esquirol, Maximien Parchappe (1800-1866) was an alienist whose career consisted of two successive periods. First as an asylum clinician in Normandy, he tried to find an etiology for ''madness'' through a macroscopic anatomical-pathological study that included nearly eight hundred brains and drew from the nascent field of statistics. Then, once he had been appointed an ''asylum inspector'', he would play an important role in the application of the French Law of 1838. His first goal was the construction of asylums in every French department that met architectural standards specific to the care of the insane. He then worked to promote the humanization of treatment and the well-being of those interned through innovations such as ergotherapy. Extremely dedicated to his work, Parchappe regularly published findings from his various studies throughout his career in a number of works. His main results are summarized here, following a brief biography of this man of conviction, a fine example of a nineteenth-century progressive alienist.

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    회원님의 원문열람 권한에 따라 열람이 불가능 할 수 있으며 권한이 없는 경우 해당 사이트의 정책에 따라 회원가입 및 유료구매가 필요할 수 있습니다.이동하는 사이트에서의 모든 정보이용은 NDSL과 무관합니다.

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